Puccini - Tosca
|
List Price: Our Price: $14.16 You Save: $15.82 (53%) Availability: Usually ships in 1-2 business days Buy Used: from $10.48 (click here) Category: DVD See more DVD releases |
|---|
Buy this DVD movie at online store in your country
Canada
Canada
Movie Reviews of Puccini - Tosca
Movie Review: Malfitano and Terfel turn this into a five-star production
Summary: 5 Stars
Such is the strength of this production that even a non-Puccini lover like myself found it riveting from beginning to end. The credit goes mostly to Catherine Malfitano as Tosca and to Byrn Terfel as Scarpia, although the directing, the sets, and even the costumes contribute mightily to the success of the production.
I love to hear Puccini arias performed in concert, but in his operas, I find the music in between to be rambling and unfocused; I also miss the ensemble pieces found in Mozart, the bel canto composers, and Verdi. I'm prepared to assume the fault is mine, but, nevertheless, it's how I react to Puccini. However, this production is so tightly crafted from beginning to end that I was caught up in both the drama and the music from the moment the curtain went up until the credits rolled.
Yes, the Cavaradossi of Richard Margison is just average. His voice is strong, but he doesn't bring much characterization to the role. However, because Tosca and Scarpia are the heart of the opera, I don't think this shortcoming warrants subtracting a star from the five I've given it.
Catherine Malfitano sings Tosca with that perfect combination of passion and control. She's also an exceptional actress - at turns vulnerable, jealous, fearless. You will be spellbound by her interpretation and execution of "Vissi d'arte." In performing it, she lays bare Tosca's life for us.
Bryn Terfel has such a firm handle on the character, that it's hard to believe this is his first time playing Scarpia. It's not easy to sing so beautifully while projecting such terror as a character, but Terfel does. He is truly frightening, while at the same time mesmerizing us with his full-bodied bass baritone voice.
The director, Nikolaus Lehnhoff has a vision of a decadent, fallen world and he carries it through in sets and costumes that are stark and rich at the same time.
Whether "Tosca" is one of your favorite operas or if you're still learning to appreciate it, I recommend this production most highly.
Movie Review: Tosca
Summary: 5 Stars
Great production. Malfitano superbe singing and acting. Terfel one of the best Scarpia I ever see.
Modern production of grand qualities.
Movie Review: Tosca
Summary: 4 Stars
Tosca, Madama Butterfly, La Bohème and Turandot are the best works of Puccini. You can ask and Manon Lescaut? I find it a little lower. Always preferred to Massenet's Manon. This, theatrically and vocally better built. That said, we have a version of Tosca in 1998 - when I bought I thought it was recent. It's hard to meet this opera soprano, a tenor and a baritone high level. In this version this was achieved thanks to Terfel, Malfitano and Margison.
The production scenarios chooses to modern luxury, where parade propellers and cats. Uniform design, which follows a direction busy, dynamic and even tiring for the singers. Costumes at times such as those of Tosca, sometimes strange, like Scarpia, too effeminate for a boss feared by all. All this, however, not characterized as Puccini: modernize it with a reading interesting and personal. Act I, scene wide open, second act, a propeller and a cat share the scene with a low ceiling, which want to transmit to the viewer? In the third act the scene is low, closed, claustrophobic. Inducing the end of Cavaradossi. Production and direction focused on reflection.
Vocally, the balance prevails, leveling the top. Malfitano was at its height, with his mature voice, dark, with acute generous. Tosca plays a neurotic, obsessed with love, jealous. Terfel is Wagnerian baritone stood out the treble. Lately, many baritones have followed this path. His beautiful tone and interpretation devil make him a great Scarpia, although sometimes a little effeminate. Never died in love with the tenor Richard Margison, but that show the man was in his day: people who watch opera live knows that his performance is never an equal to another. The man sang well, their sharp sprang naturally and control. His tone was pleasant and his reading of Cavaradossi correct, despite the enormous paunch.
The governing Chailly captures the details of the music of Puccini, but it makes a presentation routine. Without being interrupted by applause by the audience - they only appear at the end - can a bureaucratic musicality. It lacks passion, the explosion of Italian music in his reading.
The direction of image sometimes suffers at the plug, near the speed camera on the faces of performers, trick outmoded. The DVD contains 16 minutes of extras, no subtitles, showing interviews with actors and directors. When speaking in English, great, when they speak Dutch, complicated business. Someone understands Dutch ai gente?
Tosca, Madama Butterfly, La Bohème e Turandot são os melhores trabalhos de Puccini. Você pode se perguntar: e a Manon Lescaut? Considero-a um pouco inferior. Sempre preferi a Manon de Massenet. Esta, teatralmente e vocalmente melhor construída. Dito isso , temos uma versão da Tosca de 1998 - quando a comprei achei que era recente. É dificil reunir nessa ópera um soprano, um tenor e um barítono de alto nível . Na presente versão isso foi conseguido graças a Terfel, Malfitano e Margison.
A produção opta por cenários modernos, luxuosos, onde desfilam hélices e gatos. Concepção uniforme, que segue uma direção movimentada, dinâmica e até cansativa para os cantores. Figurinos às vezes interessantes como o de Tosca, às vezes estranho, como o de Scarpia, afeminado demais para um chefão temido por todos. Tudo isso, entretanto, não descaracteriza a obra de Puccini: moderniza-a com uma leitura interessante e pessoal. Primeiro ato, cenário amplo e aberto; segundo ato, uma hélice e um gato dividem a cena com um teto baixo, o que querem transmitir ao espectador? No terceiro ato o cenário fica baixo, fechado, claustrofóbico. Induzindo ao fim de Cavaradossi. Uma produção e direção voltada à reflexão.
Vocalmente, o equilíbrio predomina, nivelando por cima. Malfitano estava no auge, com sua voz amadurecida, escura, com agudos generosos. Interpreta uma Tosca neurótica, obsecada de amor, ciumenta. Terfel é barítono wagneriano, sobressaem os agudos. Ultimamente, muitos barítonos tem seguido esse caminho. Seu belo timbre e sua interpretação demoníaca fazem dele um ótimo Scarpia, embora às vezes um pouco afeminado. Nunca morri de amores pelo tenor Richard Margison , mas nessa apresentação o homem estava no seu dia: quem assiste ópera ao vivo sabe que nunca uma récita é igual a outra. O homem cantou bem, seus agudos fluiam com naturalidade e controle. Seu timbre estava agradável e sua leitura de Cavaradossi correta, apesar da enorme pança.
A regência de Chailly capta os detalhes da música de Puccini, mas faz uma apresentação de rotina. Sem ser interrompido pelas palmas da platéia - essas só aparecem no final - consegue uma musicalidade burocrática. Falta a paixão, a explosão da música italiana em sua leitura.
A direção de imagem às vezes peca nas tomadas, aproxima a câmera com velocidade no rosto dos intérpretes, truque antigo e ultrapassado. O DVD contém 16 minutos de extras, sem legendas, mostrando entrevistas com protagonistas e diretores. Quando falam em inglês, ótimo; quando falam em holandês, o negócio complica. Alguém entende holandês ai gente?!
Tosca - Puccini
Ali Hassan Ayache
Movie Review: Terfel makes a captivating role debut; Malfitano shines
Summary: 4 Stars
This newly released DVD of TOSCA, which was shot in 1998 for posterity on the occasion of Bryn Terfel's role debut as Baron Scarpia, is one of the most visually stunning and musically pleasing productions of this particular opera that I have encountered in some time.
When discussing any performance of this opera, one must first assess the soprano who is singing the title character. In this case, it is Catherine Malfitano, the brilliant and acclaimed artist who was the Met's unofficial prima donna for many years. She is no stranger to the role--she's sung it probably close to a hundred times since debuting it in 1990--and possesses many wonderful quirks that make her interpretation fully singular. When this DVD was filmed (1998), Ms. Malfitano was still in her vocal and artistic prime, and she delivers a riveting account of the legendary diva. I dare any true opera lover to try to breathe during her radiant "Vissi d'arte", or her chilling murder of Scarpia. Unlike many notable sopranos of recent years, Ms. Malfitano is also a consummate actress, which makes her all the more watchable. This is really a star performance if ever there was one.
Likewise, Bryn Terfel is a bass-baritone whose distinctive voice and commanding presence has made him a favorite around the world since her came to prominence in the early nineties. Hearing him sing a role as iconic as Scarpia so well, it's hard for me to believe that this was the FIRST performance he ever gave of the part. He sounds like he has been singing it for years. (I felt the same way when I saw his first Don Giovanni years ago, as well). His sound is round, polished, and with the appropriate amount of menace that a great Scarpia should have. He's outfitted in this production to look almost like a sadomasochist (similarly, Malfitano looks like a really stylish dominatrix), but he doesn't need to crack the literal or proverbial whip. His Scarpia is terrifying enough as it is. Bravo.
The less said about the Cavaradossi of Richard Margison the better. I've seen this artist in a variety of roles over the years, and he approaches them all in exactly the same manner: sing loud, sing clearly, and never show any emotion. He plays Don Jose the same way he plays Manrico in TROVATORE and so forth, with absolutely no wavering. His interpretation of Cavaradossi is competent (he sings all of the notes), but never exciting. Watching him, I wanted to jump up and down and holler, "This is one of the most thrilling roles ever written for a tenor. Do something, for Christ's sake!" Give me Cura, Alagna or Giordani over him any day.
As usual, Riccardo Chailly conducts with style, grace and supreme beauty. Nikolaus Lehnhoff's production is out there (although compared to some recent outings I've seen in NYC, Chicago and LA, it's fairly tame) but enjoyable, sometimes simply because it is over the top. But honestly, the production doesn't really matter. I would watch Malfitano and Terfel sing this on a bare stage in street clothes. They really are that good.
Highly recommended.
Movie Review: cream rises
Summary: 4 Stars
I dont know who wants opera to look like this. Nobody I know. Both the design and stage direction hit below the belt with this ragger. I wonder what Puccini would say? I've seen Malfitano's Butterfly and Salome in the opera house and those performances were better than this. This is vocal struggle, fortunately with tricks to survive it all. She's an adequate actor, but misses the idea that operatic 'acting' is more effective as it grows more hidden, more subsumed in the singing. 'Vissi d'arte' is fascinating; flashes of pungent beauty and an unsought sense of doom come across effectively. Her Tosca is wildly committed. If that's all you need, you might like the performance. Lamentably, vocal luxury isnt a consideration with Malfitano. Richard Margison's Cavaradossi is sterile, forgettable. But Bryn Terfel's Scarpia positively steals the night. Just the right amount of juice, and the right kind. A malevolent, bewitching Scarpia that sings like a seraphim! We've waited for this. Too bad the rest of the production is a clunker. I'd say skip it, and pray Terfel recommits the role as effectively in another production less self-involved - or better, live! But no regrets here. I popped for it expressly to experience Terfel's vocally voluptuous villain, and got recompensed in spades. He burns up the role, and the singing's beautiful. For all Scarpia's menace, the honey just pours out. Bryn Terfel, and the gorgeous sound of the Concertegebouw raises two stars to four!
More Movie Reviews:
1 2
1 2